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Putu Sucita Yanthy is a lecturer at the Faculty of Tourism. She completed her Doctorate Program in 2016 at Udayana University. Her dissertation is titled Kontribusi Perempuan Dalam Mengangkat Kuliner Lokal Untuk Mendukung Pariwisata Bali (Women’s Contribution in Promoting Local Food to Support Tourism in Bali). She actively conducts research and joins activities at Udayana University. Her research interests include women in tourism, gastronomy and culinary fields. She had an opportunity to take part in Mobility for Teaching Staff program at the University of Glasgow, Scotland in 2018. Since 2019-present she doing research postdoctoral program entitled Tourism Education and Women in Bali at University of Angers, France. +
Putu Sudjana started writing poetry in the 1970s and only published it in the Bali Post in the 1980s. In addition, he also writes short stories, essays, drama scripts / plays. Often wins in poetry and drama script writing competitions. He performed many of his drama scripts at the Banjar Hall and TVRI Denpasar. He used to work at the Bali Regional Office for Transmigration. His solo book of poetry is entitled "Sajak-sajak Kecil dari Langit" (1985). His poetry is also summarized in the book "Lukisan Magis Tanah Bali (2000) +
Putu Vivi Lestari was born in Tabanan, November 14, 1981. She achieved a Master of Management and works as a lecturer at the Faculty of Economics and Business, Udayana University. Vivi is married to the painter Ketut Endrawan. They have two children: Made Kinandita Radharani and Nyoman Akira Bodhi Pawitra.
On April 8, 2017 Vivi died of blood cancer (leukemia).
Vivi's poems have been published in the Bali Post, Bali Echo, Kompas, Suara Merdeka, Kalam Culture Journal, PUISI Journal, Coast Lines Magazine, People's Thoughts, Horison Literature Magazine, Media Indonesia, and CAK Cultural Journal.
Her poems can also be found in a number of joint anthologies, including Angin (Teater Angin, Denpasar, 1997), Notes of Concern (Jukut Ares, Tabanan, 1999), Ginanti Pelangi (Jineng Smasta, Tabanan, 1999), Art and Peace (Buratwangi , Denpasar, 2000), Anno's Essay & Waves of Poetry 2001 (Kompas, 2001), Green Kelon & Poetry 2002 (Kompas, 2002), Ning: Anthology of Poetry 16 Indonesian Poets (Sanggar Purbacaraka, Denpasar, 2002), The Blue Angel of Hobart City (Logung Pustaka, 2004), Spirit: A Collection of Poetry Poets from Bali-West Java (bukupop, Jakarta, 2005), Because My Name is a Woman (FKY, 2005), Selendang Pelangi (Indonesia Tera, 2006), Herbarium: Anthology of Poetry in 4 Cities (Library Pujangga, Lamongan, 2007), Rainbow (Indonesia Tera, 2008), Couleur Femme (Jakarta-Paris Forum & AF Denpasar, 2010).
Vivi has won a number of literary awards, including the "Best Five" small note competition held by the Jukut Ares Tabanan Community (1999), "Ten Best" poetry writing competition for high school students at the national level held by Jineng Smasta-Tabanan (1999), 2nd place in the competition poetry creation in the marine orientation week held by the Faculty of Letters Unud (1999), Art & Peace 1999 "Best Nine Poems", 2nd place in a poetry creation competition with the theme "Bali after the Kuta tragedy" (2003).
Vivi had been invited to a number of national literary events, including the 2003 Utan Kayu International Literature Festival in Denpasar, 2004 Indonesian Literature Cakrawala at TIM Jakarta, Ubud Writers and Readers Festival 2004, Yogyakarta XVII Arts Festival 2005, Printemps de Poetes 2006 in Denpasar, The VIII Main Praja Mitra Literature Gathering in Banten (2013).
Her book of poetry entitled “Failed Ovulation” was published posthumously by Expression Library, 2017.
My name is Putu Weddha Savitri and I was born in Singaraja, 27th February 1981. I graduated from French Department, Padjadjaran University for my bachelor degree, and Lingustic Program, Udayana University for my Master degree. I am a lecturer in English Departement, Faculty of Arts, Udayana University since 2006, and I has interest in French language, linguistics, translation, and language teaching. +
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He came, he saw, he created. renowned artist Futura and Potato Head put on quite the show with river warrior.
New York City artist Futura2000, in collaboration with Potato Head, has created two sculptures titled ‘Pointman – River Warrior’, which were unveiled in Singapore and Bali. Created using waste collected across the island of Bali, Pointman speaks to Potato Head’s ideation that sustainability can be beautiful. Initially lauded as a pioneering graffiti artist, Futura2000 is known for his ground-breaking use of abstraction in the 1980s and has always been progressive in his philosophy, methodology, and practice of art. Adjacent to his body of abstract paintings, he has developed a universe and lexicon around an otherworldly character: the Pointman. Over the years, Pointman has taken many forms across drawing, painting, and sculpture.
The collaboration with Potato Head sees Pointman emerge with a new mission in the materials of its design. River and ocean pollution has long been a central concern of Futura2000. Located on the Hudson River in New York City, the view from his studio of the Statue of Liberty is obscured by vessels transporting trash and free-floating river garbage. In reaction to this, the use of waste for the fabrication of the sculptures is a social commentary on the pollution crisis faced by both rivers and tributaries in New York City and Southeast Asia.
On 9 December, the courtyard of the OMA-designed Potato Head Studios in Bali unveiled the second River Warrior sculpture. For this Pointman, everything from motor oil bottles to discarded water gallon lids sourced by the community organisation, Yayasan Kakikita, were used. The event brought together traditional Balinese ideals with Futura2000’s urban aesthetic and featured a performance by Australian dance company Chunky Move, talks, craft beers, and Balinese food stalls.
ABOUT THE ARTIST
Futura2000 (b. Leonard Hilton McGurr, 1955, New York) is an abstract painter whose practice first developed in New York during the 1970s. One of the earliest graffiti artists to introduce abstraction into his work, Futura was also among the first graffiti artists to be shown in contemporary art galleries in the early 1980s. Early exhibitions of his work include presentations at Patti Astor’s Fun Gallery and Tony Shafrazi Gallery, as well as within the historic Times Square show of 1980, alongside Keith Haring, Jean-Michel Basquiat, Rammellzee, and Kenny Scharf. MoMA PS1 brought the artists together again in its landmark 1981 exhibition, New York / New Wave. Futura collaborated with the punk band The Clash during this time as well, designing their album art and painting on large-scale canvases behind the band as they performed in concert. In recent years, he created collaborative works with Takashi Murakami and exhibited them at Kaikai KiKi Gallery in Tokyo. He worked with Virgil Abloh on collections for Off-White and Louis Vuitton and staged visuals for the designer at Coachella. Futura’s work has been shown at The New Museum, New York; MOCA, Los Angeles; the Groninger Museum, the Netherlands; Yvon Lambert, Galerie De Noirmont, and the Galerie du jour agnès b., Paris. In 2020, the Noguchi Museum presented Futura Akari, an installation of Akari light sculptures customized by Futura; he created a large site-specific installation at the Palais de Tokyo in Paris, and he was included in the exhibition Writing the Future: Basquiat and the Hip Hop Generation at the Museum of Fine Arts, Boston.
@futuradosmil
www.seminyak.potatohead.co
Raechelle Rubinstein is a writer of several books and journal articles about Bali including the latest in 2022 entitled Beyond the Realm of Senses: The Balinese Ritual of Kekawin Composition. +
Original article printed in BALI!Now
The rebranding and reconfiguration of the Bali tourism industry from Desa Wisata to Desa Kreatif (tourism village to creative village) is essential. Tourism products shift from vacation leisure activities to learning and innovation experiences up-skilling people as entrepreneurs within the 21st-century global creative economy.
Demographics have changed from the leisure-focused baby boomers to the X, Y, Z, and millennial generations who tend to be orientated towards creative and entrepreneurial adventures. The market evolves from internationals to a mixed domestic and international audience. The emphasis changes from ‘trading’ to instilling innovative and entrepreneurial knowledge...
The rebranding of tourism transforms Bali into a global centre of innovation and learning. Desa Kreatif preserves the ‘gotong-royong’ village model of shared collective responsibilities. The environment is a decentralised, fully distributed, unified infrastructure providing equal opportunity and enhanced diversification. A sustainable ecosystem eliminates competition, empowered by the abundance philosophy and the entrepreneurial spirit. A renewed sense of shared values and belonging motivates stakeholders to collaborate to serve the whole’s best interests.
See whole piece at https://bit.ly/3pD43p9, originally published in NOW!Bali, April 1, 2021 by Richard Horstman. +
Pandemic Covid-19 which start from 2020 and also 2021 cause many effect,especially tourism in Bali have not visited as usually.
Tourism in Bali who have not visited as usually must +
I am an anthropologist by training, though my teaching and research tend to cut across traditional disciplinary boundaries—in pursuit of questions pertaining to the historical and ethnographic study of religion, media and performance in South and Southeast Asia. More specifically, my work has primarily focused on Indonesia and the wider Malay region. I also have a longstanding interest in the philosophy of the human sciences.
Before coming to Victoria, I taught for six years at the Institut für Ethnologie, Ruprecht-Karls-Universität Heidelberg, where I was a member of the collaborative research initiative on Material Text Cultures. There I completed the Habilitation in Anthropology. I have also held research and teaching positions at the University of Chicago, Harvard University, Williams College and Universitas Udayana.
As to academic training, I completed the doctorate in both Anthropology and Religious Studies at the School of Oriental and African Studies (2002). Prior to this I had taken an MA in Oriental and African Religions (SOAS, 1995), with formal examinations in Sanskrit language, Indian philosophy and Buddhist Studies. My BA was in Religious Studies at the University of California, Santa Barbara (1994).
Dr. Fox’s full profile is available at: https://www.uvic.ca/humanities/pacificasia/people/faculty/profile/fox-richard.php +
Richard Horstman, (b 1964 in Melbourne, Australia) has more than 25 years of experience in
Indonesia, first visiting Bali in 1986. He spent extended periods in Sumatra and began living in
Bali in 2004. He has worked in the Bali and Indonesian art worlds since 2008 as an writer,
journalist, a co-creator with artists and an art tour presenter to national and international guests
from 2014. He has participated intercultural exchange events in Thailand, the Philippines and
Indonesia, while regularly attending events in Singapore, Jakarta and Yogyakarta.
Richard consults professionally and non-professionally to Indonesian and foreign artists,
collectives, galleries and art spaces. Richard is passionate about reporting on developments in
the Bali art infrastructure and innovations in the Bali art world. He previously made and
exhibited sculptures and installations and is currently painting in his spare time.
During 2022 Richard experienced growth in his writing genres penning his second social cultural
observation piece on Bali, entitled Duality and the Exploitation of the Spirit published in
NOW!Bali Magazine in the January/February 2023. He began writing book reviews published in
the Jakarta Post and NOW!Bali with his fourth review Masks of Bali: Between Heaven & Hell
published in the Post in February.
An article for the Australian quarterly hardcopy magazine ArtLink, a special edition on
Indonesian art was published in April 2023 and a review of the Bali art scene, post-pandemic
with international tourism open for Singapore magazine Plural Art Mag. He is currently writing
articles for NOWBali Magazine. Unfortunately since July 2023 the Jakarta Post is no longer
publishing its Features section, meaning no more specialized reporting on Indonesian art and
culture which is a massive blow for the country and the global audience.
In November 2022 Richard began initial steps for his next book, WINDS OF CHANGE: Women
in Balinese Art, the first study into the pioneering women in Balinese art, due to be published
later in 2023. This is the follow-up to his first book published late 2019 Ubud Diary: Celebrating
the Ubud School of Painting - the Diversity of the Visual Language launched at the opening of
Ubud Diary a new gallery in Lodtunduh, Ubud where he worked as a consultant from June 2019
until March 2020 when the pandemic impacted on the Bali and global economy.
In the past Richard has been a contributor to the Jakarta Globe newspaper, Ubud Now & Then
online magazine, the Yak Magazine, Art Republik, NOW! Singapore, NOW!Jakarta,
Art&Market, Singapore, the art columnist for UbudLife Magazine, Arti, Art Malaysia, Art One
Nation, Indo Expat & Ubud Community News magazines. He have been a regular contributor to
the Jakarta Post for over ten years and am the art columnist for NOW!Bali Magazine.
As an art activist Richard has a strong social platform and is passionate sharing ideas and
brainstorming with artists, gallerists, art spaces and collectives about professional structuring,
communications, vision, branding, building community and the ongoing development of the Bali
art infrastructure. Richard is currently working on a series of geometric paintings for his
upcoming Universal Eye Mandala Art website.
Richard’s articles are published:
www.lifeasartasia.art
www.lifeasartasia.weebly.com
Facebook Page: Bali Art Reviews
Instagram: @lifeasartasia
Previous art roles:
Member of the Board of Directors of the Bali Art Society 2013-2014
Art Presenter Artpreciation (2016-2018)
Advisor
Cata Odata Art House 2014 – 2018 Penestanan, Ubud Bali
Ubud Diary Jul 2019 – MARCH 2020, Ubud, BaliLodtunduh, Ubud, Bali
o Ubud Diary is a new art gallery in Ubud with the mission to raise the profile of the
historical Ubud School of Painting. It is planning its grand opening late in
November 2019 with a group exhibition of works by senior artists of the Ubud
School, including the launch of the book 'Ubud Diary: Celebrating the Ubud School
of Painting - the diversity of the visual language" written by me and translated into
Bahasa Indonesian by Richard Nixon Tambalo. Ubud Diary's annual exhibition
program will include three solo exhibitions by senior artists, along with one annual
event in Jakarta. The renown Ubud School of Painting which was 'founded' in the
late 1920s - early 1930s in Ubud is destined to die out, through its program of
exhibitions, book and catalogues, and other annual events Ubud Diary's vision is
to reignite the genre and encourage regeneration that can lead to its future
sustainability.
Richard Winkler dream of a utopian world where man and nature were tightly integrated. and then he woke up in it.
Richard, how did your upbringing influence your artistic style?
During my childhood, I spent a lot of time with my grandfather, whom I admired. He was enormously talented in drawing and painting, and we spent a lot of time together. He also took me out into Nature, where we walked for hours, and he taught me everything about flora and fauna. He was a great inspiration, and he showed me how to draw and how to appreciate and love the natural world around us. During the same time, I had to spend a lot of time in hospital in order to undergo many surgeries to correct the growth of my bones, as I was suffering from a rare bone disorder. This created an early awareness of the physical body and its limbs. It was fascinating to me when the doctor measured angles and the length of my bones, and how he could open up my body to correct those after drawing lines on my limbs. In summertime, I usually spent a lot of time playing in an old garden and plant nursery near my home, forgetting all the pain I had to go through the rest of the year. I loved all the greenhouses, which were full of exotic plants and trees such as banana and orange trees. It was hot and humid, and I could smell the plants and the soil. This world was magical and full of energy and fertility. This was life, and life wanted to flourish. I often dreamt and fantasized about exotic and tropical worlds where my soul was happy and free, a kind of paradise where you picked fruits from the trees, and life was free from troubles. My early childhood drawings often depicted tropical landscapes with exotic colourful birds and animals.
What was your initial impression of Bali, and how did it inspire your art?
When I first landed in Bali, I discovered the world I had been dreaming about, a kind of Garden of Eden full of life and colours. The tropical nature was alive and amazing, and the soil so incredibly fertile. People were friendly, and everyone seemed to be able to talk about art and aesthetics. And everyone seemed to be creative in one form or another. Bali was full of life, colours, details, sounds, and smells. It really appealed to all my senses and made me feel incredibly alive. Even the ground was not stable and moved sometimes.
I loved the passionate rains and thunderstorms, which were so intense and powerful. Life itself was at maximum in Bali, and I couldn’t feel anything but very alive. I loved it. Over time, I found lots of inspiration in the traditional life at the rice paddies, in Nature, and in markets. I love the simple life of man and nature, tightly integrated. Perhaps it’s still a dream in my mind about a Utopian world free of pain and sorrow. But it’s a beautiful dream, longing for peace and harmony in one’s soul.
Can you describe your creative process and how it has evolved over time?
During my time in art school, I became more and more fascinated by the human body. I spent countless hours drawing from life models to study the forms and lines of the body. I was especially fascinated by simple lines and how they cut and overlapped each other. I eventually started to play with these forms, stretching them and deconstructing them to my liking, a little bit like an orthopedic doctor rearranging the bones and limbs. The body doesn’t need to look anatomically correct to actually function and feel right. The important thing is that it feels good and works correctly. That’s how I construct the bodies on the canvas.
Do you see Bali as a colourful Utopian paradise?
I might dream about this Utopian paradise free of pain and sorrow and full of life, love, beauty and harmony. But of course this fantasy world doesn’t exist in reality. Wherever we live, life will always be life including everything from tears to laughter, and that’s how we grow ourselves and our characters. And maybe that is the real beauty and goal of life itself.
Ladies and gentlemen, I am present here to voice an echoing yet unheard plea, which is the fate of the cries of abandoned and cruelly tortured animals. The Island of Bali is too beautiful to be inhabited by these grim animals.
These animals are pets tortured cruelly for personal pleasure, beaten to disability out of hatred, stolen to be eaten. Animals employed like the overworked horses forced to endure harsh conditions. Experimental animals, such as frogs dissected without anesthesia, also suffer unwarranted pain.
I appeal to the Bali Province Regional Council to strengthen Regional Regulation No. 1 of 2023 regarding the Protection of Flora and Fauna. I highlight the ambiguity in the rules regarding the definition of "keeping" animals in Article 11 paragraph 1 section c. However, in Article 1 paragraph 9, it states that Wildlife includes all animals living on land, in water, or in the air, retaining their wild nature, whether they live freely or are kept by humans.
With clear and robust legal foundations, many positive things will emerge: more people will dare to speak up for animal protection, impart moral lessons to children, and raise awareness of the importance of compassion towards animals, boosting the government's morality in the eyes of the public. Communities or individuals independently rescuing and caring for these animals will also be supported and have continuous collaboration with the government.
Together, let us make Bali a safe and comfortable place for the animals living here, following the footsteps of developed countries like Switzerland, the Netherlands, New Zealand, Germany, and Australia in animal protection. Through this speech, what I "HOPE," becoming what "WE" HOPE, and ultimately becoming what "WE ALL" HOPE FOR. With one heart, let us make Bali a paradise for these animals. +
Born in 1954 to an Indonesian diplomat father and a Turkish mother, Indonesian photographer and writer Rio Helmi has been capturing images of Asia and writing since 1978. His work can be seen in magazines, documentaries and more than 20 large format photographic books. Solo exhibitions of Rio’s still photography have been held in Bali, Jakarta, Madrid, Miyazaki, Palo Alto, San Francisco, and Sydney, and his works are held in private collections around the world including in London, Rome, Boston, Washington and Tokyo. Rio has been based in Bali for more than three decades, and speaks five languages fluently. He writes in Indonesian and English, and blogs about a wide range of topics including for the Huffington Post and the website ubudnowandthen.com dedicated to his hometown Ubud. He has also moderated panel sessions and conducted public interviews at the Ubud Writers and Readers Festival which is now an annual event of international repute. In 2010 Rio launched his book called “Book Memories of the Sacred” a retrospective portfolio of Bali over the last 30 years. His latest book is “Travels on Two Wheels, a Broader Perspective of Bali” a series of eclectic panoramas taken during nearly 30,000 kilometers of motorcycle trips around the island. +
Robert Kiyosaki is truly a multi-talented personality. He is an entrepreneur, investor, motivational speaker, author and also a financial knowledge activist. He is very popular for his series of books called ‘Rich Dad Poor Dad’.
His book series ‘Rich Dad Poor Dad’ is an international bestseller. It is basically a comparison between his two ‘dads’; one was his poor biological father and the other ‘fictitious’ rich dad. The poor father was in fact very educated but had no money but the rich father was a high school dropout but was in fact ‘Hawaii’s richest man’. Robert Kiyosaki has appeared on television several times including on Public Broadcasting Service (PBS), KOCE, California, WLIW of New York and New Jersey area and his fund raising drive. +
"Robert Lemelson is a cultural anthropologist, ethnographie filmmaker and philanthropist. Lemelson received his M.A. from the University of Chicago and Ph.D. from the Department of Anthropology at the University of California Los Angeles. Lemelson’s area of specialty is transcultural psychiatry; Southeast Asian Studies, particularly Indonesia; and psychological and medical anthropology. Lemelson currently is a research anthropologist in the Semel Institute of Neuroscience UCLA, an adjunct professor of Anthropology at UCLA, and a visiting professor at USC. His scholarly work has appeared in numerous journals and books. Lemelson founded Elemental Productions in 2007, a documentary film company. He has directed and produced over a dozen ethnographic films related to culture, psychology and personal experience. He is also the founder and president of the Foundation for Psychocultural Research, which supports research and training in the social and neurosciences." +
Ibu Robin Lim @iburobin is a Filipino–American midwife, mother, grandmother, and founder of Yayasan Bumi Sehat, a nonprofit organization that provides free maternity care for pregnant women, mothers and their babies, plus healthcare for all those in need.
Born in the Philippines in 1956, Robin decided to become a midwife in 1991, when her sister and neice tragically died during childbirth. She qualified as a midwife in the United States and Indonesia, and founded the Bumi Sehat Foundation International in Bali, Indonesia. To date, she has birthed over 9,000 babies and is known by locals and international fans alike as “Ibu Robin” (Mother Robin). Bumi Sehat (which translates to “healthy mother earth”) operates clinics in Bali, Sumatra Island Aceh, Papua and the Philippines, as well as temporary clinics in disaster areas around the world such as Haiti and Nepal. Through the foundation, Robin trains and inspires more than 6,000 midwives and nurses per year, and over 300,000 people have benefitted from Bumi Sehat’s services to date. +
1898 – 1965
Curriculum vitae
1898 born in Krommenie (North-Holland) on June 9
1917 final examinations gymnasium (A and B)
1917-1918 military service
1918-1926 studied Indonesian languages (linguistic officer), Leiden University; Arabic (Snouck Hurgronje), Sanskrit, Javanese and Old Javanese (Vogel and Hazeu), Hindu-Javanese history (Krom), and general linguistics (C. C. Uhlenbeck); amongst his older fellow students were W. F. Stutterheim and P. V. van Stein Callenfels
1926 PhD under the supervision of N.J. Krom, Leiden University
1926 officer for the study of Indonesian languages at the Archaeological Service, charged with the checking of transliterations of Old Javanese inscriptions
1928-1939 adjunct archaeologist of the Archaeological Service in Bali
1939-1941 librarian to Mangkunegoro VII, Surakarta (Central Java)
1941-1945 service in the Royal Netherlands-Indies Army; civilian internee
1946 on leave in the Netherlands
1947-1958 linguistic officer of the Netherlands-Indies and later Indonesian Government, head of the Singaradja division of the Institute for Linguistic and Cultural Research of the University of Indonesia
1958 retirement
1959 librarian of the Faculty of Letters of Udayana University, Denpasar (South Bali)
1962 research-professor, teaching Balinese epigraphy and early history
1965 died in Denpasar on October 4
Special activities and positions
Scientific adviser of the Kirtya (Foundation) Liefrinck-van der Tuuk (set up in 1928), 1932-
Co-worker at the Bali Museum
Teacher at a secondary school and a training-college for teachers (S.M.A. and S.G.A.)
Teacher of German, 1951 +
Rosvita is a lecturer at the Indonesian Hospitality Management Community Academy, Triatma Mapindo Badung, Bali. Rosvita completed her bachelor's and master's studies from the Triatma Mulya School of Economics, Denpasar Bali with qualifications in hospitality and tourism management. Rosvita's writing include tourism village development strategies, as well as the role of women and millennials in tourism. +
Rucina is one of Bali’s cultural icons. She has lived in Bali since 1974 when she did intensive study of dance and its relationship to religion. Her book, co authored with I Wayan Dibia, BALINESE DANCE, DRAMA AND MUSIC: AN INTRODUCTION TO BALINESE PERFORMING ARTS is used in classrooms around the world and by travellers coming to Bali who want to know more about the performing arts in context. She pioneered World Learning’s (ex Experiment in International Living) Bali Academic Semester Abroad program in 1985 and then switched to the other end of the spectrum and ran Elderhostel cultural programs for ten years with her late husband, Anak Agung Gede Putra Rangki.
She and Agung were the klian adat or traditional heads of their hamlet in Abianbase, Kapal for 2013; as far as we know she is the only foreigner to have held this position.
After the initial Bali bombings in 2002, the non profit sector became her world and she was the director of YKIP for over a decade, assisting survivors of the bomb with scholarships and livelihood programs. She then worked for the Annika Linden Foundation, helping to create the Annika Linden Centre in Denpasar, Bali, dedicated to one of the bomb victims in the spirit of helping those who are economically disadvantaged. Currently, she runs the CSR program of the Amicorp Group via the Amicorp Community Foundation in the village of Les, North Bali, where a Vocational Training Center is set to be built.
In 2003, she and three other foreign women of a certain age and size (all married to local men) formed Grup Gedebong Goyang, a comedy group that does song paradies and skits about current affairs in Bali. Their Balinese version of SAKITNYA TOH DISINI has over a million hits!
Currently she divides her time between Les village and Ubud, where she resides with her entire family (sons Gung Anom and Gung Prabu; daughter in laws Jero Bahari/Edenie and Gung Tia and grandson Gung Arun and granddaughter Gung Prabha) and three dogs.
